Archive for the ‘light’ Category

Hi folks, almost a whole month has passed since my last post. Wow! Time flies!

The fact is I’ve been more busy than ever and part of the reason for that has been caused by me writing a new eBook. You’ll get more details on just what it’s about at some stage later.

While we’re on the topic of eBooks I absolutely must direct you all to this one. It’s sorta “produced” by the wonderful David duChemin, but it’s actually written by his friend and a darn good photographer Dave Delnea.

The eBook’ is titled – “Below The Horizon, Understanding Light at the Edges of Day”. Pretty self explanatory, all I can say is – it’s well worth the $5 or better yet the $4 introductory price. Photographing at the “edges of the day” is something I love doing and want to do much more of in the future, this little eBook has already given me some pretty cool ideas. Get, it learn from it, use your knowledge out in the field.

I’m holding a SALE for both of my eBooks this week. You buy either one of them and you get the other free. So, folks, anyone who hasn’t got these yet, now’s your chance. The offer lasts from November the 7th to the 14th.

Here’s the LINKor click the image above. Just click the “buy” button, under either eBook and after payment you’ll be automatically directed to a URL from which you can downloadboth eBooks.

Now to what I’ve been up to. Over the past few days I’ve driven from Belarus to Hungary. I’m on my way to Romania and that’s where I hope to meet up with a couple of fellow photogs and explore some of the country’s most picturesque regions. I have to say – it’s fascinating seeing Eastern Europe this way, the only downside is that my wife isn’t with me for this part of the journey. Due to some visa difficulties she’ll have to meet me later. In any case, I’m enjoying the trip. Traveling by car is much less exhausting than the motorcycle travel I’m used to. Heck, you can even sleep in the car. 🙂

At long last here it is, my new eBook on working with light! I think the title is pretty self-explanatory. You can see some sample screen grabs below and HEREyou can download the sample PDF (845kb).

You can buy it HEREor click on the title image. The price is again US$12. After payment you’ll be automatically taken to the download link.

I wanted this eBook to be useful for photographers of different levels, from those who have just begun to understand how critical light is to photography, to the more experienced individuals ready to dive into the world of artificial lighting and try new things.

The information inside should be relevant to anyone who’s passionate about light, but wants to stay compact – that includes travel and documentary photographers, wedding photographers, portrait photographers and even low-budget commercial shooters.

In short here’s what the readers will learn after going through the eBook:

How to create “believable” looking artificial light with a single off camera flash in a softbox or with a reflector

How to get the most out of available light – with and without the help of artificial light

Gain a deeper understanding of natural light and how it can be used creatively, even in challenging situations

How to “sculpt” with artificial and natural light

How to light scenes with a flash without killing the existing atmospheric light

If you like the e-book or know photographers who may find it useful – please spread the word. As with the previous eBook all the income from this will be used for good 🙂 – i.e. photography and more travel, which will also result in more photography and more viewing pleasure for the readers of this blog. 🙂

Since I’ve been pretty much consumed by all things light related recently, writing texts for my new e-book, I decided to write a post in the spirit of, you guessed it – light.

When I’m shooting, particularly when shooting portraits I have an obsession with creating a sense of volume and depth, making my photographic subjects appear sculpted, three dimensional. Turns out there has been a word for this “look”, since long before photography. The word is – “chiaroscuro”.

Now, call me an idiot, or a bad student, since I’m sure we learned this in my art history class at university, but when I heard the word from a traveling artist I befriended in Indonesia, I didn’t really know what he was on about.

Of course I put on a smart, understanding face, the first time I heard it, 🙂 but after he used the word a second time, remarking how much he loved the presence of “chiaroscuro” in my work, (which I was showing him) I could pretend no longer 🙂 – “chiaro-what?” He gave me a definition along the lines of what I later found later on Wikipedia:

“Chiaroscuro (Italian for light-dark) is a term in art for a contrast between light and dark. The term is usually applied to bold contrasts affecting a whole composition, but is also more technically used by artists and art historians for the use of effects representing contrasts of light, not necessarily strong, to achieve a sense of volume in modeling three-dimensional objects such as the human body.”

Today, as I was looking at some of my images, trying to explain the natural light in them and to break down into diagrams how it can be managed, I remembered the word and decided to Google it.

Caravaggio and Rembrant are two famous artists known for their mastery of “chiaroscuro”. I’m not making a revelation when I say that they’re masters for a reason. One thing is for a photographer to see the light and to position the subject in a way that will create the “chiaroscuro” look and another is to actually paint it. Every little detail is noticed and needless to say, the work of these artists is inspirational, even a few hundred years after its creation.

One important thing to note is that the masters were able to create compelling images without any of the amazing technology we have today (lighting or photographic). Many still do this there’s something to be said there. We don’t need fancy light set ups, artists have sculpted with light for hundreds of years. The first step for us as photographers is to see the light that is before us and understand how to work with it. There’s no sense in rejecting the creative opportunities that artificial light brings – that would be “counter evolutionary”, but there’s also no reason to ignore the power of natural light.

My stance is all for making the most of available light, in the literal sense of the word – any and all light available to the photographer on the move, that’s what I really want to explore in the e-book.

On a side note: I wander if any of the painters rave on about their gear or debate about which paint or brush is better, as photographers often do?